70 CROSS SINCE 1846 MZ<bA / >. <7'1, 1 11 ktc ,,;j rr h:"r , '!I 1f. .. IfI;Ät( . , Qal; . ( r "r Illi/lh- .. II t F "'U,t S[A .ft w/) 0 /kCf: Q Q $ 80s 16'$ FROM FOUR-FIFTY TO FIFTY DOLLARS EACH "'" ..!ì fJ( / ø } f, - ,. ..., .:: ., ..... , Cò + ;;<. ,,'./ &" WEfJ. IYC '. IIIEW .' ;*.:" .\ , ," . . ..-::f,..,:, "-.:' "'....... ' ........ ..:::, ø ' ". ': j, #-' > Hand blended just 200 bottles at a time. Hand burnIshed by rolling In demijohns. Hand filtered into 18th century-type tincture bottles. No ma- chine made fragrances can rival the incompara- ble richness of the nine classic male Colognes 1 Toilet Waters and After Shave Lotions created by Caswell-Massey Co. Ltd. .< For the next two issues of our fascinating Gift Cata- logue, send $1 to Caswel/- Massey, Dept. TN-6, 114 E. 25th St., N.Y. 10010. f!þ America's Oldest ChemIsts & Perfumers Est. 1752 sacrificed Moreover, even In the loud- est passages the attack should not be loud but only moderate, and then the tone should swell in power. Mehta once discussed thIs point in detail with an in- terviewer Some conductors, including some of the most celehrated, like T 0- scanini and George Szell, he said, make an orchestra go "Pah!" "Pah!" is the effect of a lightning-like attack in re- sponse to the downbeat. But this is not Mehta's aim. He wants to make an orchestra go "V raah , "-starting with a moderate degree of force and then building up real power. "It goes well with Bruckner," he remarked. "And it IS the secret of the Vienna Philhar- monic's sound." Mehta is prohably the first voung conductor hereabouts who has not been in any way affected by the Toscanini approach, although he ré- spects T oscanini as a musIcian. In this departure, he may have some influence on American musicians of all kInds, who have been under the great mae- stro's spelJ for at least a generation, and who, hy imitating the superficial fea- tures of the T oscanini style-literal in- terpretation of the notes, un varying and verv fast tempos, surgical precision- have made a good dèal of performance in America monotonous, exact, and somewhat dull. Of course, a conduc- tor who can make an orchestra go "V raah !" does not make it do so on every note. The effect is reserved for nohle entrances of big themes and chords, and is largely restricted to nine- teenth-centurv music. Mehta uses his rapier-stab motion to achieve this ef- fect. When the orchestra sees it, cer- tain things have to happen. The double basses, for one thing, have to attack a little ahead of the rest of the orches- tra, because they "speak" more slowly than the other instruments. The or- chestra as a whole attacks with a moderate degree of tone and immedi- ately swells, and it must do so with a degree of unanImity that can he at- tained only by long practice. Certain German orchestras-the Berlin Phil- harmonic, for example-have a habIt of attacking not when they see the ba- ton descend but a fraction of a second later. Their ensen1ble is perfect, nev- ertheless, and they can go "V raah ! " They usually drivg. "Pah!" conductors out of their wits. Even Mehta, who has conducted some of them, says that he gets pretty nervous after a Jown- beat, wondenng whether anything is going to happen, but then the attack is made, usually with faultless precision. Mehta also firmly believes-and all musicians of two or three generations ago would agree with him-that a giv-